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Graphic Design Solutions, 5e | Landa 1
Instructor’s Manual

Chapter 07 COMPOSITION

Learning Objectives
01 learn the fundamentals of composition
02 grasp how to create the illusion of spatial depth
03 learn the importance of grouping
04 understand the compositional process
05 be aware of composing for a single static surface
06 grasp the role of type and image arrangements and relationships
07 see the point of arrangement
08 know the purpose of guiding a viewer through design

Overview
Concentrate on the principles of composing for a single surface. Point out that
composition is the whole spatial property and structure of a design. Consider the
purposes of composition:
• Visual interest
• Clarity of visual communication
• Organization of graphic space
• Holds the design together, a kind of armature
• Visual articulation of a design concept
• Visual expression and communication

Present the types of composition. Explain how designers compose. Describe type and
image arrangements and relationships in compositions.

Stress visual hierarchy and unity as the guiding design principles. (Always
reemphasize visual hierarchy.) Also emphasize balance and rhythm.
Graphic Design Solutions, 5e | Landa 2
Instructor’s Manual

Lecture 1: Fundamentals of Composition & the Illusion of Spatial Depth

Part I
Composition is the form, the whole spatial property and structure resulting from the
visualization and arrangement of graphic elements—type and images—in relation to
one another and to the format. Note that designers compose with the intention to
visually communicate, to be compelling, and to be expressive.
Underscore the following points:
• Composing is the basis of design
• Composition is how all the parts of your design work together
• Composition is the visual organization of type and images in a graphic spatial
arrangement
• Composing can be spontaneous (improvisational) or highly guided
• Composing is the relationship between critical thinking and creating, involving
assessing
• Emphasize the relationship between the design concept and how to compose
to express it
• Spatial illusion is one result of composition

▪ Discuss Composing for:

>>Single surface
➢ Show a poster or Facebook ad or outdoor billboard
>>Multipage
➢ Show several pages of a website or panels of a brochure
>>Acknowledge two critical considerations:
• Margins
➢ Show Dia. 7-1 ///
>>Midline of the page (print or screen)
➢ Show Dia. 7-4 ///
Graphic Design Solutions, 5e | Landa 3
Instructor’s Manual

▪ Discuss the types of compositional structures and graphic space:

• Active vs. static
➢ Show Dia. 7-3 ///
• Closed vs. open
➢ Show any Raphael vs. Jackson Pollack’s “Lavender Mist”
<http://www.nga.gov/feature/pollock/painting1.shtm>
➢ Symmetric
➢ Show Dia. 7-5 ///
• Asymmetric
➢ Show Dia. 7-5 ///
• Flat vs. illusion of spatial depth
➢ Show Mondrian vs. any representational work, such as Fig. 7-8

▪ Use Fig. 7-5 /// as an example to explain structure and illustrate applied
principles of composition. Point out:
• Use of the midline
• Balancing forces
• Image-driven focal point
• Communicates visually and is expressive
➢ Show Fig. 7-5 /// Poster: New Music America
Part II
▪ Draw a diagonal line on a page and explain how easily the illusion of spatial depth
can be created on a single surface. Then draw a plane receding into space (tilted
plane) and further explain illusion.
➢ Show Dia. 7-8 /// Foreground, middle ground, background
▪ Discuss the picture plane and how it can be manipulated to create the illusion of
spatial depth by various means:
• Layering and Transparency
• Overlapping
Graphic Design Solutions, 5e | Landa 4
Instructor’s Manual

• Diagonals
• Receding diagonals
• Perspective
▪ Also discuss illusion created by:
• Forms: cubes, pyramids, cones
• Value Modulation and Atmospheric Perspective
▪ And discuss the illusion of movement on a static surface.
➢ Show Fig. 7-8
▪ Emphasize the importance creating contrast in a composition, enabling the
viewer to better understand each graphic element through comparison, using
Itten’s list:
>> big/small
>> long/short
>> straight/curved
>> pointed/blunt
>>much/little
>> light/heavy
>> hard/soft

Exercise 7-1 Graphic Space: Closed Versus Open

01. Drawing either a landscape or room space, you will create two sketches. Hold the
page in a landscape format.
02. First sketch: Draw the landscape or room by emphasizing the horizontal
movements, allowing images to continue off the sides of the page so that the viewer
understands the space to be open—to go on and on.
03. Second sketch: Draw the landscape or room by emphasizing vertical movements
that echo the vertical edges of the page. Here your goal is to make the space seem
“closed,” as if the entire space is all contained within the format and does not reach
beyond the boundaries of the page.
Graphic Design Solutions, 5e | Landa 5
Instructor’s Manual

04. Compare the pictorial space in both drawings.

Lecture 2: Compositional Process & Composing for a Single Surface

Concentrate on the point that there are many ways to achieve the goals of
composition. When designing for a single surface, such as a poster, most designers
compose spontaneously. In the process of creating, shaping, moving, improvising,
and experimenting with graphic elements, while utilizing the principles of composition
one forms a composition.

 In class, assign a spontaneous composition. This can easily be

executed by hand with a marker or pencil and paper. Determine a few
graphic elements, e.g., a book or play title, author, and image of the
student’s choice that would work in cooperation with the book title to
express something about the content. A good title choice is something
well known, such as Shakespeare’s play Romeo & Juliet.

Project 7-1 Spontaneous Composition

01. Design a promotional poster that drives people to a magazine website. Choose a
magazine with online presence, such as National Geographic. The topic of this
promotional poster should illuminate a special topic that might be covered
in the magazine; for example, animal conservation might be covered in National
Geographic.
02. Develop a design concept for the poster focusing on the specific topic.
03. Determine a method of visualization, such as collage, photomontage, drawing, or
any media.
04. With your concept as the driving force, make thumbnail sketches of different
possible compositions. Form a composition through experimentation. Do not use any
formal structuring devices such as a grid or golden section.
05. Choose one or two sketches and turn them into roughs.
06. Refine one rough and turn it into a final comp.
Graphic Design Solutions, 5e | Landa 6
Instructor’s Manual

Lecture 3: The Role Of Type And Image Arrangements And Relationships

Focus on how type and image interact within a composition.
▪ Explain basic ways type and image interact.
➢ Show Dia. 7-13 /// Positioning strategies
>> Type and image are fused: type is inseparable from the image, often
positioned inside the primary image, creating a conjoined relationship.
>> Type runs across image: type runs across the image(s). The viewer reads the
type while seeing the image behind it, as if the type were on a pane of glass over
the image.
>> Type is positioned outside the image or adjacent to image: type is not placed
inside the main image, does not run over the main image, but is placed outside
the image within the remaining pictorial space of the format. The type may also
be adjacent to the image.
▪ To make the following points about how type and image interact, tell students to
ask themselves these questions when composing and visualizing:
>>Will the form of type and images share characteristics?
>>Will the type and images work in opposition, be contrasted in style of
visualization and/or form?
>>Will the type drive the composition? Will the image drive the composition?
>>Will the type and images be organically intertwined?
>>Will they touch, overlap, be juxtaposed, fuse? Will they be words that
incorporate images or be images that incorporate words?
>>Will one be the star and the other the supporting player?
▪ Emphasize the following approaches to type and image relationships:
• Supporting Partner Type and Image Relationships
>> A classic “neutral” typeface works cooperatively with the image, which has
the starring role
➢ Show Fig. 7-15 /// Book cover: South of the Border, West of the Sun by
Haruki Murakami
Graphic Design Solutions, 5e | Landa 7
Instructor’s Manual

>>Type has starring role and image is subordinated

• Sympathetic Type and Image Relationship
>>Type and images possess shared or similar characteristics, which produce
harmony.
➢ Show Fig. 7-16 /// Posters, Lennon Series Pleasure (for SpotCo)
• Contrasting Type and Image Relationship
>>Type and images possess apparent differences, contrasting points of
differentiation, contrasting or opposing qualities and characteristics.
➢ Show two examples of different kinds or type/image relationships.
➢ Show Fig. 7-17 /// Logo: Ground | Visual Dialogue, Boston, MA
➢ Show Fig. 7-19 /// Illustration: Op-Ed Letters | Page, The New York Times
▪ Explain how a composition guides the viewer through it like a well-designed room
space.
➢ Show Fig. 7-21 /// Book Cover and Diagram: Satchmo: The Wonderful World
and Art of Louis Armstrong by Steven Brower

Project 7-2 Graphic Space: Dominant Visual Image vs. Multiple Visuals Images

1. First composition: Find or take a photograph of an object or person, which will be

the dominant visual in the final composition. Then find or take photographs of
related images, for exampl
2. \e: a person (dominant visual image), and subordinate visual images: such as a
suitcase, an umbrella, a puddle, a dog, and a fire hydrant. Convert all the photos
into silhouettes.
3. Build a composition around one dominant visual (using size, shape, color, or
value contrast), where all other graphic elements form relationships with that
dominant visual.
4. Second composition: using the same silhouettes, now build a composition where
there is no single overtly dominant visual; here relationships are built among
several shapes or forms through some unifying principle. No element dominates.
Graphic Design Solutions, 5e | Landa 8
Instructor’s Manual

In a multiple composition, all movements have equal or close to equal force.

5. Compare the graphic space in both compositions.

Topics for Classroom Discussion

(Please note that the answers provided here are guides. Before each topic’s
discussion, students should read Graphic Design Solutions, taking responsibility for
their own learning. Each chapter of Graphic Design Solutions, 5th ed., is a “lecture” or
“lectures” [depending upon your course], providing archived content for review or
remediation, enabling a flipped classroom model.)

o Why do we have to compose design solutions?

Creating visual interest and clarity of communication are two main goals of
composition. If a design solution is uninteresting or unclear, it will not be
effective.

o How does grouping work?

Grouping is a fundamental Gestalt concept, proposing that when graphic
elements appear similar—share characteristics, are arranged close together,
are connected, or are enclosed in a common spatial area—people perceive
them as belonging together. Groups can form in a variety of ways. If you
understand how grouping functions, you can more easily create visual
emphasis in a composition through differentiation.

o Explain various approaches to type and image relationships.

o Type-driven: emphasis on type and de-emphasis on images, where type
is the dominant force with images as secondary
o Image-driven: emphasis on image and de-emphasis on type, where
image is the “hero” and type is subordinate to the image
o Visual-verbal synergy: a synergistic relationship between verbal
message (the title or headline) and the primary image
Graphic Design Solutions, 5e | Landa 9
Instructor’s Manual

o Are there different ways to approach graphic space? Explain.

Graphic space can be flat. Or you can create the illusion of three-dimensional
space in a variety of ways, such as: creating volume by various means;
overlapping shapes and forms; layering and transparency; drawing titled
planes; etc.

You also can approach the boundaries of the graphic space differently by
establishing an open or a closed composition.

o Is there an order to composing? In other words, do you visualize an image

first and “add” type? Or is there another way to compose? Many ways?

Composing is a process where one achieves a desired result by repeating a

sequence of steps and successively getting closer to that result. If the result is
“Point B,” there are lots of ways to reach Point B. You can get there by
spontaneous means, by using proportional systems or compositional
structures. The compositional method you use depends on the project’s
specifications and your own method of composing and visualizing. Composing
is an iterative process. Iterations or revising (major and minor changes)
usually happen at the same time as creating and producing. This means you
are rethinking, revising as you work, which is part of the creative process of
composing.

Some designers start with an image and thoughtfully consider composing the
image and type together; type is never simply added. Some start with both
type and image in mind; others start with type.

There are many ways to compose. But all start with a concept.
Graphic Design Solutions, 5e | Landa 10
Instructor’s Manual

o Should type ever be “typed in” or “added” to a visual in a composition?

Type is a vital component of a graphic design. It should never be an
afterthought. Designers consider type and image relationships and
composition cooperatively.

o How can type and images relate?

There are three main ways to think of type and image integration:
o In the supporting partner relationship, a classic “neutral” or
“anonymous” typeface works cooperatively with the image, which has
the starring role.
o In a sympathetic type and image relationship, type and images
possess shared or similar qualities and characteristics, which produce
harmony. The agreement in form enhances meaning. Type and image
share apparent character and purpose.
o In a contrasting type and image relationship, type and images possess
apparent differences, contrasting points of differentiation, contrasting
or opposing qualities and characteristics. The contrast between type
and image characteristics is purposeful and synergistic, producing a
unique communication.

o Are there different ways to structure compositions?

Yes, there are many ways to structure compositions. For example, you can
build a composition around one dominant visual (using size, shape, color,
pattern, or value contrast), where all other graphic elements form
relationships with that dominant visual.

Or you can build a composition where there is no one overtly dominant visual.
Here relationships are built through sequence, pattern, grid, modular
structure, repetition, stair structures, axis alignment, edge alignment,
positioning and flow, or some unifying principle.
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Graphic Design Solutions, 5e | Landa 11
Instructor’s Manual

You can build a static composition or one that suggests motion or movement.

❖ Find more Graphic Design Solutions Exercises and Projects online.

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